what she means:
i don't know why people still complain about one hot minute (1995) - they were doing their best with what they had. the fact that people hate it makes me think that it's only because of the lack of frusciante's melancholy guitar and his, of course incredible, technique. i think that dave navarro (48, from santa monica) had a lot to offer to the band (the red hot chili peppers). the way they speak makes me wonder, if they complain about frusciante, who was in a drug induced daze at the moment, fighting with his inner demons, what do they think about freaky styley, the uplift mofo party plan or their debut album, red hot chili peppers? don't they forget about the quantity of guitarists they had? why do they only care about john frusciante? they only care about frusciante. and they only care about saying mean things about navarro. why do they treat him so badly? because his vibe was different, because he dressed in a much controversial way? is it because he was and still is defying masculinity? because he dressed all in black? what is their problem? will i ever be happy?
I can’t speak to what the experience was like in other
cities across the US and around the world, but I’m certain that anyone who lived in
New York City between 1983 and 2006 remembers Tower Records. Many times in the
late 90s and 2000s, I tagged along with my brother when he browsed the music in
the store near Lincoln Center, and I remember buying my first two Red Hot Chili
Peppers CDs, The Uplift Mofo Plan and
Californication, at Tower Records
when I was 13/14 (summer of 2006). Naturally, a film focused on this particular franchise would attract my attention, but it will also appeal to viewers who are interested in American music culture from the second half of the twentieth century, as well as viewers who want to get a grasp of how this close-knit, “family” organization got its start.
Things Must Pass, actor turned documentarian Colin Hanks chronicles the history
of the iconic record/tape/CD store chain. From the company’s humble roots in
Sacramento, California, as a small shop (and
hangout for cool kids) run by Russell Solomon and a few
friends, to its extraordinary success as a world-renowned brand,
Hanks tells the story in a consistently entertaining and engaging fashion.
Hanks doesn’t reinvent the wheel for nonfiction filmmaking, and it seems like a
misstep that he concentrated way too much time on the crazy 70s and then sort of
rushed through the next two decades of the business, but All Things Must Pass is definitely worth seeing for the nostalgia
factor and the reminiscences of bygone eras in music appreciation and technology.